Fadzly's blog on his photography

Posts tagged “Landscape

Hope, a fading glow

Gears: Leica R6 and Leitz Wetzlar Elmarit-R 90/2.8, on Kodak Gold 400
Location: Gas Processing Plant, Kerteh, Terengganu, Malaysia

The hotter temperatures make plants become net emitters of carbon dioxide instead of net absorbers of it. It seems that as temperatures get hotter plants risk losing water through evaporation and respiration. In order to prevent water loss they reduce the size of their pores, and that in turn reduces the amount of carbon dioxide that the plants may take up.

LESSON LEARNED HERE: If you underexpose print films, you will not get the necessary shadow details. But given the wide latitude of print films, you can overexpose print films by 2 stops and yet get great results.

This ability for color neg films to be over-exposed and still reproduce decent images also accounts for the ability of print films to record much more brightness range than slides.

We often refer to this as “dynamic range”. In a slide, highlight information is stored as clear parts of the film that at a point contains nothing more than blank film base. Color negs continue to stack up increasing density (highlight) information until the film simply can’t record any more information.

Overexposing color negative film also makes it easier for most labs to get decent prints or scans, because more info is recorded. How much exposure compensation is needed? This probably varies with film but start with +.3 to+.5. Some film, maybe even one full stop.

This latitude doesn’t mean you’ll get an optimal result. It just means that within these ranges you can get a useable (depending on your purpose) result. Over- and under- exposure are mistakes. Film latitude should not be relied upon to cover mistakes in exposure.

Many people will intentionally reduce exposure of slide film by between a 1/2 stop and a full stop to increase colour saturation, retain detail in highlight areas and reduce grain. Some will also intentionally increase exposure on negative film by 1 to 1 1/2 stops to increase colour saturation and preserve details in shadow areas as well as reduce grain (grain can become very noticeable in underexposed areas of print film).


The swampy lagoon in Kuala Marang

The swampy lagoon in Kuala Marang is probably at it’s most beautiful in the late evening just as the sun is setting and the creatures of the night begin to stir their shift.

Gears: Leica R6 and Leica Summicron 35mm F/2.0, on Fuji PRO 160S Location: Marang Fishing Village, Kuala Terengganu, Malaysia

Gears: Leica R6 | Summicron 35mm F/2.0 | Fuji PRO 160S Location: Marang Fishing Village, Kuala Terengganu, Malaysia

In this post I’ll tell you how I discovered a beautiful swamp in Kuala Marang, about the crystal clear water that was full of real beauty, but the kind of beauty that you look at but don’t see unless you open your eyes and your heart.

Gears: Leica R6 | Summicron-R 35/2.0 | Fuji Superia 100
Location: Marang swamp land, Terengganu, Malaysia

Much of the area is a mosaic of wetlands and mesic flatlands subject to seasonal flooding. Flood and small bushfires largely govern the composition and distribution of vegetation, creating a distinctive mosaic of natural communities. Flooding also limits intensive agriculture and large-scale development, resulting in one of Terengganu’s most significant natural areas.

This is what the camera sees, so it has to be there, and it is! But often we don’t see the beauty because we are “beauty blind”. People are always in a rush, always rushing about, I guess that comes naturally when you live in big cities. I am just as guilty sometimes but not very often now my eyes are open.

Do you remember when they say, “see it through the eyes of a child”. Full of excitement and desire to explore. I truly feel that is how we should view the world around us.

Unfortunately often the case is the greed for land and money from the people of the past has endangered beautiful places like this. I often say “beauty is everywhere”, so try to see it and it will enhance your life like you would not believe. Just try it right now, look at something and try to see the details, the colors, the textures, the shapes see it differently than you did before.

Gears: Leica R6 | Summicron-R 2,0/35 | Kodak Gold 100
Location: Kuala Marang Fishing Village, Marang, Terengganu, Malaysia

The fools spent millions of dollars trying to built what they call progress and the damage they did may even now be irreversible. Thus beautiful swamps like this one we have here in Kuala Marang may be dying a slow death many and many species of plants, animals and birds are are on the endangered list they are disappearing at an alarming rate.

Gears: Leica R6 and Leica Summicron 35mm F/2.0, on Fuji Velvia 100 (RVP100F) Location: Marang Fishing Village, Kuala Terengganu, Malaysia

Gears: Leica R6 and Leica Summicron 35mm F/2.0, on Fuji Velvia 100 (RVP100F) Location: Marang Fishing Village, Kuala Terengganu, Malaysia

Interestingly, of course there are alligators in these swamps. I did not see any in the water but I was told by the old folks in Marang about the legend of the massive alligators. The alligators would certainly camouflaged very well and its hard to be see. The natural beauty of the area is beyond words.

If you get a chance to pass through Marang while you’re on your way to Kota Bharu to the North or going south to Kuala Lumpur, please take your time! Please go slow, please stop at overlooks, please take the time to hit a trail or two, it would be a real shame to drive by everything this awesome roadway has to offer.

Gears: Nikon D50 and Sigma 70-200mm f/2.8 EX DG HSM APO Location: Oyster farm, Marang Fishing Village, Terengganu, Malaysia

Gears: Nikon D50 and Sigma 70-200mm f/2.8 EX DG HSM APO Location: Oyster farm, Marang Fishing Village, Terengganu, Malaysia


Bokeh Schmokeh Fish Cart (36810028)

Leica R6 | Summicron-R 35/2.0
Teluk Ketapang Beach, Kuala Terengganu (2006)

IMO, the fewer the lens elements, the more you have to stop down to get adequate sharpness in the plane of focus. This results in less blitzed out backgrounds in actual use. This applies to 3 element lenses vs. Tessars vs. Planars.

These are the findings of Mr Rick Denney which I find very useful and which you can also read at length on his site

1. Bokeh has several components, including edge effects around out-of-focus highlights and false edges in the rendering of out-of-focus details.
2. Bokeh rendering is not the same in all situations, and some lenses will be better than others in some situations and worse in other situations. The Vega in this test has produced some really ugly bokeh, not consistent with these results. Lens bokeh is not a single value, and each lens requires considerable experience to understand where it is good and where it is not.
3. Wider apertures do not necessarily improve bokeh.
4. Specular highlights and other out-of-focus bright spots don’t tell the whole bokeh story.
5. Longer focal lengths improve bokeh. If smooth rendering is important, get a longer lens and back up.
6. Double-gauss designs aren’t necessarily bad, but the bad ones are really bad.
7. Sonnar designs don’t necessarily have better bokeh, but they have the potential.
8. Reputation for good bokeh (e.g., the Jupiter) don’t always show in actual results.
9. Lens complexity seems to have little bearing on bokeh. Lens design, however, is paramount.
10. Apertures shapes are not really an issue with bokeh, especially near wide open. In none of these tests was aperture shape the main determinant in apparent bokeh quality. So, we should stop counting aperture blades. The lens with the most aperture blades was the B&L Tessar, but it had uniformly the worst bokeh.
11. Bokeh is subjective, but it is not an illusion.
12. Canon knows how to design a zoom lens. Nikon didn’t do too badly, either.
13. The Biometar is NOT better than the Vega, at least in these tests.
14. The inexpensive Zeiss Jena Sonnars provide a lot of bokeh quality for the buck.

Copyright © 1999, 2009 R. W. Denney, Jr.


Coming Home (36810027)

Do you ever think what orientation suits best for the subject you are trying to capture or do you just press the shutter release button and try your luck?

Orientation can greatly affect how and what image is presenting.

Most novices shoot everything horizontally – well it is much easier to hold and shoot in horizontal mode – especially the compact cameras, no?

Gears: Leica R6 and Leica Summicron 35mm F/2.0, on Kodak Colorplus 200 Negative
Location: Tok Jembal Beach, Kuala Terengganu, Malaysia


My favourite spot under the bridge has never let me down (36850021)

Gears: Nikon FM2 with Nikon AFS Nikkor 50mm f/1.8 on Kodakcolor GOLD 400
Location: Under the bridge in Kuala Hiliran, Kuala Terengganu, Malaysia


Gears: Nikon FM2 with Nikon AFS Nikkor 50mm f/1.8 on Kodakcolor GOLD 400
Location: Under the bridge, Losong


Are you afraid of the dark? (DSC_3887)

Gears: Nikon D50 and Sigma 70-200/2.8
Location: Oyster farm, Kuala Marang, Marang, Terengganu, Malaysia

Gears: Nikon D50 and Sigma 70-200mm f/2.8 EX DG HSM APO
Location: Oyster breeding spot, Marang Fishing Village, Terengganu, Malaysia
Processing: White Balance, Contrast


Not much of a shed (36850012)

Gears: Leica R6 with Summicron-R 35/2.0
Location: The beach in Ladang, Kuala Terengganu, Malaysia

Though not much of a shed if you consider the scale of the monsoons we get annually, however it serves more as a half-done-garage for fishermen to hang their fish nets. Despite the humbleness of things that you can find by the beach, let us not forget that it is the sea which gives the fishermen life. Likewise, the sea gives new life to some of our depressed spirits.


Pandanus greeting the beachgoers (DSC2495)

Pandanus greeting the beachgoers (DSC2495)

The art of weaving with the leaves of the pandanus or also known as the thatch screwpine tree, is pivotal to the history of the Terengganu people, with everything from thatched floor mats, baskets to traditional thatch wall panels being made in this fashion.

The weather’s been great this past few weeks thus we can see people start flying kites by the beach.

Nikon D50 | Leitax mounted Summicron-R 35/2.0


Being a photographer is more like being a composer

Essence of Chinatown (_DSC1168)

Gears: Nikon D50, Vivitar 24mm f/2.0 Location: Chinatown (Kampung Cina), Kuala Terengganu, Malaysia

The Terengganu state government is going to turn Kuala Terengganu into a waterfront city soon. The master plan for the Shah Bandar area is being finalised and is likely to be shown to the public later this month. “The state government will then call all stakeholders to respond,” a conservationist, who declined to be named, said.

 

Under the plan, Masjid Putih (Zainal Abidin) will be rehabilitated and more public places and boardwalks culminating in Kampung Cina and Pasar Payang will be created, she said. While new public plazas will take on Islamic designs, the Chinese theme in Kampung Cina will be preserved, she said. “There are proposals to build shop houses on stilts or on some reclaimed land in Kampung Cina. These shop houses will be fronting the sea and will be similar in design to the old shop houses that have the back facing the sea,” said the source, adding that houses with illegal extensions will have to be demolished.

Points to ponder:
The “guitar:guitarist, hence, camera:photographer” metaphor is a bit off IMO. Being a photographer is actually more like being a composer. You create new works, rather than simply playing/interpreting works written by others.


Exploring the tropical highlands (499570022)

Exploring the tropical highlands (499570022)
Gears: Leica R6, Summicron-R 35/2.0
Location: Berincang, Cameron Highlands, Pahang, Malaysia

Off in the distance I could hear a calming rumble of thunder. The rain patters softly on the roof of our hut while the occasional cricket can be heard just outside my door.

Do you realise the peaceful, calm feeling most people get when walking through, or living next to, a large group of trees belonging to a forest.

Well, this calm, peaceful feeling is not felt by people walking through or living near other areas where trees exist, such as large cities with treed boulevards, paths leading to haunted mansions, and edges of cliffs.

I truly believe that these “feelings are real… and DO matter”. Therefore, the happy feelings that people experience while walking through, or living near, a large group of trees belonging to a forest are not felt when walking through busy cities, heading toward a haunted house, or perched on the edge of a tree-lined cliff. This provides clear evidence that these large gatherings of trees encompass an unseen mystical force that can only be described as a forest.. Oh! How I miss the forest…